{"id":16508,"date":"2020-06-13T19:07:23","date_gmt":"2020-06-13T17:07:23","guid":{"rendered":"https:\/\/vdegallo.com\/?post_type=product&p=16508"},"modified":"2025-05-06T15:57:57","modified_gmt":"2025-05-06T13:57:57","slug":"mendelssohn-string-quartet-no-1-op-12-string-quartet-no-2-op-13-capriccio-op-81-quatuor-sine-nomine","status":"publish","type":"product","link":"https:\/\/vdegallo.com\/en\/produit\/mendelssohn-string-quartet-no-1-op-12-string-quartet-no-2-op-13-capriccio-op-81-quatuor-sine-nomine\/","title":{"rendered":"MENDELSSOHN : STRING QUARTET NO. 1, OP. 12 \u2013 STRING QUARTET NO. 2, OP. 13 \u2013 CAPRICCIO, OP. 81 \u2013 QUATUOR SINE NOMINE"},"content":{"rendered":"

Felix MENDELSSOHN :<\/strong> String Quartet No. 1 in E-Flat Major, Op. 12, MWV R25: I. Adagio non troppo – Allegro non tardante – II. Canzonetta – Allegretto – Pi\u00f9 mosso – III. Andante espressivo – IV. Molto allegro e vivace – String Quartet No. 2 in A Minor, Op. 13, MWV R22: I. Adagio – II. Adagio non lento – III. Intermezzo – Allegro con moto – Allegro di molto – IV. Presto – Adagio non lento – 4 Pieces for String Quartet, Op. 81, MWV R32: III. Capriccio.<\/p>\n

Quatuor Sine Nomine<\/a> : Patrick Genet<\/strong>, Fran\u00e7ois Gottraux<\/strong>, Violins \u2013 Nicolas Pache<\/strong>, Viola \u2013 Marc Jaermann<\/strong>, Cello.<\/p>\n

Booklet CD-1516.pdf<\/a><\/p>\n

From Richard Wagner\u2019s vile anti-Semitic declarations to Debussy\u2019s description of him as an \u00ab elegant, shallow notary \u00bb, Mendelssohn has, for more than a century, been the constant victim of an inexplicable compaign of calumny. Perhaps envy on the part of his detractors at his joie de vivre, handsomeness, comfortable social status or the incredible ease with which he was able to create.<\/p>\n

A certain number of Mendelssohn\u2019s works have always been favorites with audiences : Hebrides, a Midsummer night\u2019s dream, Concerto for violin or his Italian Symphony. However, concertgoers are generally unaware of Mendelssohn\u2019s chamber music preferring Mozart\u2019s or Beethoven\u2019s to his quartets.
\nA great devotee of classicism, Mendelssohn was to infuse his quartets with a limpidity recalling that of Mozart. He composed his Quartet in A minor, Op. 13 between July and October 1827. This unjustly neglected work reveals the perfect stylistic mastery of the then eighteen-year-old composer, inspired perhaps in his creation by Beethoven\u2019s death. While Mendelssohn did not attempt to imitate the great master in this work, its structure is clearly influenced by the late quartets of Beethoven.<\/p>\n

The opening movement of Opus 13 is based on a motif from his lied Op .9, No.1 Ist es wahr ?<\/em>, which serves as a central strand weaving its way throughout. The second movement is developed with taut chromatism, terminating in a four-part fugue in which certain elements of the finale are already perceptible. The intermezzo which follows is a perfect example of Mendelssohn\u2019s art, and, at the same time, of that care-free elegance for which he has so often been criticized. The finale is one of the most highly complex movements composed by the youthful Mendelssohn, being continually interrupted by a recitative in which the lied\u2019s initial motif is heard once more. Doesn\u2019t this almost obsessive repetition of Ist es wahr ? bear an uncanny resemblance to Beethoven\u2019s Muss es sein ? Es muss sein !<\/em><\/p>\n

Mendelssohn completed his Quartet No. 1 in E Flat, Op.12<\/em> two years later, in September 1829. This work opens with a brief slow introduction, followed by a sprightly allegro whose development is rather lengthy. In lieu of the usual slow second movement, Mendelssohn substitutes a delightful canzonet, which is often performed separately. Light, flowing and charming in its simplicity, this ethereal piece bears the stamp of Mendelssohn\u2019s musical genius as well. The subsequent andante espressivo features the first violinist in a great flight of lyricism.<\/p>\n

During its finale, the work rushes forward – as if its composer wished to carry us off on a kind of musical horseback ride – in a style highly reminiscent of Schubert\u2019s. As in the case of the finale of Opus 13, here Mendelssohn adopts the same cyclical structure, with the conclusion of the work containing various elements of its first movement.<\/p>\n

Mendelssohn\u2019s Capriccio in E minor, Op.81, No.3<\/em> originally formed the third movement of Quartet No.7, put together arbitrarily, following the death of the composer, from four separate works of his for a string quartet. This short piece consists of two parts fused together. The andante movement, a song without words, is followed by a particularly energetic allegro fugato with tightly-woven counterpoint, as though Mendelssohn were attempting to unite lied and scherzo into a new musical form somewhere between the two.<\/p>\n

Fran\u00e7ois Hudry<\/strong>
\ntransl. Gary Lebowitz<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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